#Best Classical Learning

[christianschools]

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[benevolenterrancy]

so I've started reading Journey to the West, and I more or less knew what to expect from Sun Wukong going in, no surprises there. Tripitaka, on the other hand, completely knocked my feet out from under me... I am enchanted

[bennetsbonnet]

Much has been made of Mr Darcy's "confession" to Elizabeth that he does not converse easily with strangers. It is repeatedly used to support neurodivergent interpretations of his character. And I suppose that when taken at face value, a character confessing that they do not easily converse with strangers and struggle to catch their tone or appear interested in conversation can absolutely scream AUTISM! (I say as an autistic person myself)

But this line is often taken in isolation. When considered in terms of the passage in which it appears in Chapter 31, it appears far less of a smoking gun than may initially be suspected. After some discussion about Elizabeth and Darcy's prior acquaintance in Hertfordshire, Colonel Fitzwilliam asks Elizabeth for information about Darcy's behaviour there. She readily supplies it:

'Pray let me hear what you have to accuse him of,' cried Colonel Fitzwilliam. 'I should like to know how he behaves among strangers.' 'You shall hear then—but prepare yourself for something very dreadful. The first time of my ever seeing him in Hertfordshire, you must know, was at a ball—and at this ball, what do you think he did? He danced only four dances, though gentlemen were scarce; and, to my certain knowledge, more than one young lady was sitting down in want of a partner. Mr Darcy, you cannot deny the fact.' 'I had not at that time the honour of knowing any lady in the assembly beyond my own party.'

What Darcy leaves out here is that it was he himself who chose not to be introduced to anybody. As we learn from the description of his behaviour at the Meryton assembly in Chapter 3:

Mr Darcy danced only once with Mrs Hurst and once with Miss Bingley, declined being introduced to any other lady, and spent the rest of the evening in walking about the room, speaking occasionally to one of his own party.

Anyway, Elizabeth correctly does not buy his excuses. Not only does she respond with a cutting sarcastic remark, but she tries to bring the discussion with an end by speaking to Colonel Fitzwilliam:

'True; and nobody can ever be introduced in a ball-room. Well, Colonel Fitzwilliam, what do I play next? My fingers wait your orders.'

But Darcy does not get the hint and continues conversing with Elizabeth rather than quitting while he's ahead. However, I don't believe him to be missing a social cue here. Rather, this is an exceedingly conceited man who cannot conceive that anyone would not want to speak to such a Superior Being as he and more-so, is determined to defend himself from a perceived slight against his impeccable character.

Then we come to the passage containing the oft-cited line which allegedly contains proof of his neurodivergency:

'Perhaps,' said Darcy, 'I should have judged better, had I sought an introduction; but I am ill-qualified to recommend myself to strangers.' 'Shall we ask your cousin the reason of this?' said Elizabeth, still addressing Colonel Fitzwilliam. 'Shall we ask him why a man of sense and education, and who has lived in the world, is ill-qualified to recommend himself to strangers?' 'I can answer your question,' said Fitzwilliam, 'without applying to him. It is because he will not give himself the trouble.'

Once again, Elizabeth does not buy his excuse for even a single second. She's fully aware of all the advantages a man such as he will have received in society (opportunities not open to women, might I add!) and draws attention to that fact. It's a brilliant, cutting line from her and she really set that one up for Colonel Fitzwilliam to deliver the knockout blow.

Not only do we have the testimony of Mr Darcy's cousin, that 'he will not give himself the trouble,' to appear cordial to strangers, but we have evidence from Wickham too. Although after this statement, Wickham quickly goes onto misrepresent Darcy's kindness to the poor, which contradicts Mrs Reynold's later testimony, I do believe Wickham to be telling the truth (for once!) here, when he tells Elizabeth in Chapter 16:

'Mr Darcy can please where he chooses. He does not want abilities. He can be a conversible companion if he thinks it worth his while.'

Which, again, demonstrates that Darcy is capable when he wants to be. That is the crucial point. Autistic people fundamentally lack the ability to understand social cues, they cannot turn it on and off as they please because they are snobs.

So, now we come to the infamous line about Darcy's supposed social struggles, and I hope that I've provided enough context to the line to make you see that it should not be taken at face value:

'I certainly have not the talent which some people possess,' said Darcy, 'of conversing easily with those I have never seen before. I cannot catch their tone of conversation, or appear interested in their concerns, as I often see done.' 'My fingers,' said Elizabeth, 'do not move over this instrument in the masterly manner which I see so many women’s do. They have not the same force or rapidity, and do not produce the same expression. But then I have always supposed it to be my own fault—because I will not take the trouble of practising. It is not that I do not believe my fingers as capable as any other woman’s of superior execution.'

Again, Elizabeth is not buying his excuses for even a single second and tells him if he feels like that, maybe he should put the effort in. She has seen him in numerous social settings and been thoroughly unimpressed with his behaviour which, when you consider his rudeness to her at the Meryton assembly, she has every right to be.

So, what do I make of the line?

Well, I think it's abundantly clear that Darcy absolutely can speak to people when he wants to. Perhaps, in his mind, he struggles to make that deeper connection and make friends easily. But making friends is not always easy, it's a process you must invest time and effort into. If you do not do that, it stands to reason that you will struggle. Plus, if you hold others to ridiculous standards (as Darcy does) without recognising and fixing the flaws within yourself, you're not going to have deep, lasting friendships.

While this quote may appear to be a moment of vulnerability where he does confess a fault of his, which is astounding given his pride, personally I do not think it was not a soul-searching exercise. It was to make Elizabeth stop grilling him. It was self-serving. Although, I don't think he's entirely lying. Darcy is veeeery careful with his words and though this statement is not considered and perhaps comes out rather abruptly, it doesn't necessarily follow that it isn't true. I can imagine that it is probably something he's felt for a while, yet it is a rather desperate attempt to defend himself from a woman who sees right through him.

I think perhaps Darcy does realise that he isn't as naturally gifted as other men he knows (such as Wickham, Colonel Fitzwilliam and Mr Bingley) when it comes to forming acquaintances. However, he looks outwards and turns that bitterness against the world rather than looking inwards, reflecting upon himself and improving his manners which would be the correct thing to do. Thankfully, he later does this, but it took him twenty eight years...

In addition, Darcy appeared to have been under the illusion that he could coast by on Pemberley's reputation... which has always worked... until he met Elizabeth. For perhaps the first time, he encounters a woman who is not awestruck by him and his reputation and delivers the rebuke that he always needed.

So, while personally I'm inclined to believe there is some truth to his statement, as Mr Darcy is many things but he isn't a liar, I think it is said in desperation. His feeling stems from him knowing what he should do, but he can't be bothered to enact it... rather than any inherent social deficiency stemming from being neurodivergent.

Although, even if he does struggle socially, it's still no excuse for the rudeness he displayed to Elizabeth! My main issue with neurodivergent readings of Darcy is when they are deployed to defend his behaviour, when they attribute his rudeness to any potential neurodivergency and when they excuse his laziness. That is an awful message! Autistic people who struggle with social cues often do not, nor should they, go around insulting others. They should and often do put plenty of effort into being considerate and polite. In fact, I think, if anything, a love of rules makes us more likely to have good manners, rather than the reverse.

Ultimately, I'm not sure this line makes Mr Darcy the sympathetic-poor-sweet-innocent-shy-boy-autistic-representation that people want him to be. In fact it makes him look even worse, if anything. On matters such as these, he is every inch the conceited proud man he was widely believed to be at the Meryton assembly. Luckily, Elizabeth is an incredibly smart woman, who doesn't fall for it and immediately calls him out on his behaviour in a way that he has never experienced before. As she should!

[girddlepatchilles]

Mid-Century Modern is such a great show.

Queer joy and queer friendships that have clearly been long established and full of love. Jerry is such a big dumb gorgeous himbo who is just so lovely. I love him so much. He's just trying so hard. Arthur is such a bitch and I love him. But he also very clearly adores his friends, even if he's astounded by them sometimes. Bunny is like your stereotypical sitcom protagonist who also happens to be a gay man.

The main cast is so good and they're really funny together. I've only ever seen Matt Bomer in dramatic roles, but he's a treat as Jerry. Nathan Lane and Nathan Lee Graham are absolute hoots as always!

So much fun! Cannot recommend enough!

[fairydrowning]

July please be kind with us and give us some beautiful memories to remember you again.

[ichorrrr]

scans from my sketchbook but you can tell where i got frustrated. i'm practicing drawing with a ballpoint pen without a sketch to force myself to develop line confidence and get better at drawing faces. also there's some pathologic fanart sprinkled in (to make this at least somewhat enjoyable for me and because it's been on my mind recently)

[runefactorynonsense]

Melotober - Day 18 - Vintage

The music was simply made for older instruments!

[deoidesign]

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[pinkcadillaccas]

Everyone needs to get on my spones divorce wavelength right tf now ‼️

[thechosenkwan]

sorry it's me again anyway best day ever wdym the twins' guy got the exact same nickname as me. and he looks good too

BEST DAY EVERRRR Wait which guy Help. My stream so laggy. There's lots of cute guys on the Twins tbh I think that's why they're my boyfriend's fav team

[christianschools]

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[alixanderkrex]

Rilke’s First Duino Elegy is a deeply philosophical and existential work that reflects his broader themes of transcendence, beauty, suffering, and the limitations of human perception. It is enriched by concepts from classical studies, particularly in its allusions to Greek mythology, classical heroism, and Platonic ideas about the nature of reality and longing.

Context of Rainer Maria Rilke Rainer Maria Rilke (1875–1926) was an Austrian poet whose work often explores the tension between the material and the spiritual, the transient and the eternal. His Duino Elegies, written between 1912 and 1922, reflect his preoccupation with metaphysical longing, artistic creation, and the terror inherent in beauty. These elegies were influenced by his experiences in Duino Castle, as well as his readings in philosophy, art, and mysticism. Rilke’s writing often places human existence in contrast to the divine or the infinite, emphasizing a feeling of estrangement and the necessity of transformation through suffering and embracing it as much as the nurturing solitude offered by life to us, which he expresses as being not just beneficial but necessary. He deeply valued solitude, seeing it as essential for personal and artistic growth. He believed that solitude was not loneliness but a necessary state for self-discovery, inner strength, and creativity. Rilke viewed solitude as a way to confront one’s deepest thoughts and emotions, fostering a deeper understanding of oneself and the world. In Letters to a Young Poet, he advised embracing solitude rather than fearing it, arguing that it allows individuals to develop independence, patience, and emotional depth. He saw solitude as a space where one's soul could mature, free from external distractions and societal pressures. According to Rilke, true love and relationships could only flourish when individuals had first cultivated their own inner world, making solitude a foundation for authentic connections. For Rilke, solitude was not an escape but a path to wisdom, self-sufficiency, and a richer, more meaningful life. He believed that in solitude, one could listen to the whispers of the soul, unlocking creativity and personal transformation.

Use of Classical Concepts with in The First Elegy

Angels as Platonic Forms or Divine Messengers The poem opens with a desperate cry (which, to me, was reminiscent of the opening lines of Homer's Iliad): “Who, if I cried out, would hear me among the Angels’ Orders?”

Rilke’s angels are not comforting figures but rather terrifying beings whose essence is too overwhelming for humans to bear. This aligns with classical and Neoplatonic views of divine beings as existing on a higher plane of reality, beyond human comprehension.

The idea that “Every Angel is terrifying” evokes the Greek concept of daimons—spiritual intermediaries between gods and humans in Platonic thought, which could be either enlightening or overwhelming.

Beauty and Terror—The Sublime in Classical Aesthetics “For beauty is nothing but the beginning of terror, which we can still barely endure.”

This reflects a classical and Romantic notion of the sublime, where beauty is intertwined with awe and fear. The Greeks associated beauty (kalon) with both harmony and a kind of divine mystery that could lead to madness, as seen in the myths of Phaedra or Pentheus.

Alienation and the Stoic Worldview “Not Angels, not humans, and the sly animals see at once how little at home we are in the interpreted world.”

This echoes the Stoic perspective on human beings as estranged from a rational universe, struggling to interpret existence in meaningful terms. The idea of the interpreted world suggests an awareness that human perception is limited and filtered through subjective understanding.

Classical Lament and Mythology

The poem references the myth of Linos, a legendary musician mourned in ancient Greek laments. “Is it a tale told in vain, that myth of lament for Linos, in which a daring first music pierced the shell of numbness?”

The death of Linos, often seen as a foundational moment in the development of song and poetry, reflects Rilke’s belief in suffering as the origin of artistic creation. This aligns with the classical idea that poetry arises from grief, as seen in Orpheus’s lament for Eurydice.

Heroism and Fate “Remember: the hero lives on, even his downfall was only a pretext for attained existence.”

This recalls the Homeric and tragic Greek conception of heroism, where the hero’s suffering and death are not simply personal losses but transformative moments that give meaning to existence. Rilke’s hero transcends mere mortality by achieving a state of eternal significance, much like Achilles or Heracles.

Transformation and the Arrow as a Metaphor “The way the arrow, suddenly all vector, survives the string to be more than itself.”

This is reminiscent of Aristotelian and Platonic ideas of potentiality and actualization. The arrow is a symbol of release from earthly attachments, reflecting the classical idea that true existence lies beyond the constraints of the material world.

In Conclusion

Rilke’s First Elegy is a meditation on human limitation, divine terror, and the need to embrace suffering as a path to transformation. Through classical concepts—Platonic transcendence, the sublime, mythological lament, and heroic endurance—Rilke connects ancient wisdom with modern existential longing. His poetry echoes the classical world’s awareness of mortality, beauty, and the pursuit of meaning beyond the tangible realm.

[commsroom]

Hello! How much pop culture knowledge do you think Hera has? Has she seen star wars?

hi! that's an interesting question. the simplified answer is that she doesn't have pop culture knowledge - the only media she has any firsthand knowledge of is whatever goddard deigned to give her access to. she's never been on the internet. most likely, the only movie she's ever seen is home alone 2. but that gets fuzzier - and more complicated - when you ask what, exactly, she has in her databanks. what's on the hephaestus's servers? "my databanks indicate janis joplin died in -"? that's pop culture trivia. "well, i don't know what i want, but i know how to get it" is a fun punchline, but there's no way she's actually heard anarchy in the u.k. - is she just remembering and quoting a previous reference back at eiffel? even recognizing bach - does she have prior knowledge of classical music? does she have access to sheet music and the ability to read it? i'd believe that as something cutter would consider useful... education? socialization? for lack of better terms, but we don't have much information on what goddard AIs are exposed to pre-assignment.

i hold to the belief that hera's claim that she's going through "all the writing - i think it's all in here, more or less" stems from an inability to really conceptualize just how much writing there might be. her whole life has been split between high security goddard labs and deep space, and she's met, like, a dozen people ever. i think it would be entirely reasonable for her to see a few thousand books of historical and literary significance and to think, well, that's probably most of it, right? probably everything important, anyway. (and i think she'll be very embarrassed and very overwhelmed when she realizes.)

and then, well. of course, there's eiffel. he speaks in pop culture references to the point it's practically a second language; of course hera has picked up a ton of secondhand knowledge just from connecting the dots and inferring what he's trying to say. hera hasn't seen star wars (though it's maybe inevitable she will, back on earth), but she's heard eiffel talk about star wars and describe star wars to her beat by beat and reenact scenes from star wars from memory (his own voices and sound effects included), so she probably feels like she's seen star wars. ... more or less.

[the-alan-price-combo]

"There is no other pianist/organist in Europe today who has moved, and I think ever will move me as much as much as Alan does." - Eric Burdon, 1966

[transbutchblues]

should i spend 400€ on an online course to learn akkadian?

i only have a few days to decide and i. really want to. but that’s a lot of money and i should probably be saving up for a master’s in 2 years

[freshthoughts2020]